Archive for January, 2008
Going up across from Gagosian--"sixteen limited-edition riverfront homes with en-suite sky garages." Every New Yorker's fantasy is to have their car on the same floor as their apartment. "Limited edition"--genius marketing in an art district. (Email from MA: "I take it this means that each 'home' has an elevator into which the home-owner drives his car? And the elevator then carries said car and owner to their home with 'en-suite garage'? Or do they just lift the car up with a crane, stick it into the garage, and then wall the hole over so the owner can come and admire his or her car when he or she feels like it without any thought for driving it anywhere? In either case, this strikes me as being one of the most extreme examples of conspicuous consumption in my experience.")
Below, a nice piece by Pier Paolo Calzolari, from 1971, at Luhring Augustine, in a museum quality group show of Italian conceptual/povera art from the '60s through the '80s: Pistoletto, Merz, Boetti, etc. This sculpture has a refrigeration unit keeping half the piece frozen (with no dripping)--I like the way the metal supporting the neon words droops on the right like limp fabric.
Update: The blog VVork presents recycled versions of work that looks like this. A VVork artist, though, would have the neon "art adjectives" spell out some world-saving political message, or wouldn't have the subtle touch of the limp metal, which serves no purpose with regard to saving the world through art. Almost always the work of this nature from 30-40 years ago is better, tougher, and stranger than the nth completely unconscious iteration of it.
"SidBeats" [2.2 MB .mp3]
Straight-up rhythm track done with the kit I made sampling percussion sounds from the Sidstation synth. This is basically a demo; I tried to use all of the samples. The hissing artifacts are noises made by the Sid chip. You have to pay money to get that dirty sound now.
...worked as a critic for the New York Press in the late '90s/early '00s while co-running Roebling Hall gallery.
Was hired as a critic by Village Voice, then unhired in 2008 because he was also working as a director for two art fairs.
The difference between then and now was there were no bloggers looking over the magazine's shoulder and complaining 8 years ago.
Whether CVF has a "conflict" depends on how seriously you take the money side of art*, or value the "one way" nature of traditional mainstream media.
Tyler Green, the blogger who brought CVF low, is really into both.
If CVF was a blogger with comments enabled his "conflict" would matter less because his biases could be called out and discussed.
Up till now art criticism has been like blogging--people looked the other way about "conflicts" because there are so few talented writers and criticism doesn't pay a living wage except to a few staffers of dailies.
I guess art is mature now.
Disclosure: In the New York Press Viveros-Faune wrote supportively about my work and a show I co-curated when the Voice and other publications failed to bite. I certainly didn't begrudge him his "conflict" at that time.
*Years ago, shortly after I moved here, I attended a panel discussion of New York art writers at Matthew Marks gallery. Afterwards I asked an Art in America writer on the panel, who I knew, why they kept the topics to vague generalities and didn't mention any artists by name. "Oh, we can't do that," she said. "Why?" I said. "Because if we do that collectors will run out and buy those artists." I pretty much stopped going to panels after that.
"Trig Functions (Beats)" [2.3 MB .mp3]
In addition to the lead instrument sounds and bass heard in the Sidstation "solo" a couple of posts back, I sampled a range of the percussion noises the synth makes and built a (surprisingly acoustic-y sounding, or at least non 8-Bit) drumkit that can be played in a sampler. This track is the "solo" plus those drums.
Update: This is work in progress. The beats were a sequence written independently of the main tune and dropped into the grid after saying a short prayer to see what would happen. Things are working in the middle but the downbeat takes too long to come in. Will write a new rhythm for the intro and repost.
Update 2: revised and reposted
mspaintbrush drawing printed on xerox paper and folded around canvas stretcher, tape, 9 X 12 inches
scan of polaroid
"Trig Functions (Solo)" [2.2 MB .mp3]
Done with the sounds made with the Elektron Sidstation synthesizer, which incorporates the Commodore 64 computer's original sound chip (from the '80s) and has some added programming such as LFOs and possibly wavetables and envelopes that are not in the chip proper. Am still working on a version with a drumkit made with Sid sounds--this is a cappella. I also added some reverb--this was almost all done in Cubase so it's about the opposite of live playing.
From Wikipedia's Full House entry:
Jesse Cochran/Katsopolis (played by John Stamos) - An up-and-coming musician. His catchphrase is "Have mercy!"
Daniel "Danny" Tanner (played by Bob Saget) - He is the co-host of the morning talk show Wake Up, San Francisco. His catchphrase was "Cut..It..Out!", accompanied by hand gestures.
Donna Jo "D.J." Margaret Tanner (played by Candace Cameron) - Oldest daughter in the Tanner household, who is a typical teenager, and deals with everyday issues. She has two occasional catchphrases, "Whoa, baby!" and "Oh, Mylanta!"
Stephanie Judith Tanner (played by Jodie Sweetin) - Middle daughter of the Tanner household. She is known to have an energetic and talkative personality. She also has three catchphrases: "How rude!"; "Well, pin a rose on your nose!"; and "Hot Dog!"
Michelle Elizabeth Tanner (played by Mary-Kate and Ashley Olsen) - Youngest of the Tanner daughters. She has a strong bond with Jesse, who refers to her with the nicknames "Shortie," "Munchkin," or "Rugrat." Michelle has her own catchphrases: "You got it, dude!"; "You're in big trouble, Mister!"; and "No way, José!"
The above prose poem found while boning up on the cultural significance of a recent Paul Slocum artwork.
from dr. pepper's science journal (hat tip AE--nice one!)
"That Seventies Song" [1.5 MB .mp3]
Inspired by WFMU's one-minute remix contest. This a redo of an obscure track by a non-obscure band. The first reader who guesses the artist and track wins a CD of songs other than this one and I will post your initials.
Good article about the late chess whiz Bobby Fischer's last years, in Iceland, where he was granted political asylum and some peace.
Some bloggers slagged tributes to Fischer after he died because of his "political views."
As "views" go they are very similar to the views of math whiz John Nash when he was living in Europe, seeing conspiracies everywhere, and trying to renounce his US citizenship to become a "world citizen."
What's crazier than Fischer is that he had to fear extradition to the US, his home country, which benefited greatly from his talent when he was mentally well (and/or politically compliant), turned on him for defying a boycott of a Soviet bloc country (and, er, not paying taxes), and then continued to seek his extradition long after the end of the Cold War. There is no genius or schizophrenia in the eyes of the national security state.
For madness more virulent than Fischer's, because this man (was) a candidate for high office, check out Rudy Giuliani's prescription for continuing US military buildup.